展览现场｜BLANKgallery东京：胡子个人展览 “夜見 The Night Watching”

日期：2024-11-14 16:26:08 来源：BLANKgallery

展览 >展览现场｜BLANKgallery东京：胡子个人展览 “夜見 The Night Watching”

夜見

The Night Watching

展期 | Date

2024/11/01-2024/12/01

艺术家 | Artist

胡子 Hu Zi

地点 | Venue

〒150-0001 東京都渋谷区神宮前四丁目21番1号フィルパーク表参道テラス 2階H

2F-H, 4-chome-21-1, Jingumae, Shibuya-ku, Tokyo, Japan

BLANKgallery东京空间正在呈现艺术家胡子Hu Zi在东京的首次个人展览，以独特观看方式展出13张绘画作品。

伦勃朗于1624年受雇于阿姆斯特丹射手连为其所做的肖像画《夜巡》,伦勃朗一改以往肖像画中人物按照尊卑顺序排列的原则，另辟蹊径作出舞台化的效果。他运用夸张的光暗对比手法，令部分画中人犹如有聚光灯打在身上，另一部分则近乎没入黑暗之中。不过事实上，画中场景并非发生在夜晚，而是于破晓时分，一队民兵正准备列队步操入城进行守卫。

而画中出现的一个人物，即戴着贝雷帽，从一个戴钢盔士兵身后窥视的人物，正是伦勃朗本人，这种几乎难以察觉的细节，是伦勃朗让自己在画作中永生的常用手法。《夜巡》震惊了当时的社会，人们从未见过如此生动的人群、这样戏剧性的光暗营造。要理解此作的原创性，最好的方法是将之与当时传统的民兵肖像画作比较，更多是像是一帧校园合照，光线饱满均匀，人物头部与身形都轮廓清晰，人物的视线直望观者，一字排开，效果非常沉闷。

自画像一直是艺术家挚爱的主题。丢勒是欧洲第一位画自画像的画家，被称为自画像之父。伦勃朗的自画像，笔触从早期的炉火纯青到晚期的狂放不羁。梵高的自画像，从阴郁暗沉古典的颜色到绚烂明亮炙热，弗朗西斯·培根的自画像更加粗犷暴力，黑暗恐怖，直指内心。他们能成为艺术史上的经典，不仅仅是因为他们在技法之上为后人开辟了道路，更重要的是他们把自己跌宕起伏，孤独寂寥，狂傲放浪的一生交给了自画像。时至今日，我们依然感动于人性的光芒。而现代主义又重新定义了自画像的概念。它可以是Cindy Sherman早期的黑白照片，自演自拍式的摄影，真实记录摄影在自我的虚构中呈现不同的社会身份。也可以是马修·巴尼式的寓言，在影像里探寻人，神话，生物的心理，超现实的自画像出现在电影里。更可以是Tracy Emin的自拍Insomnia, 无数张巨大尺寸的照片，直接简单粗暴，却又伤感有力量。

BLANKgallery东京胡子个展现场

Courtesy of BLANKgallery

十三张The Night Watching重新组合了人物关系和光线的变化，汲取了画中神秘复杂蓄势待发，人性暗涌，社会角色的宏观感。十七世纪的《夜巡》对应当下社会群体的面貌再现，个体性与社会性，仿佛一面镜子，照映着自我。正如Roni Horn所说："When you see your reflection in water. Do you recognize the water in you?"

绿色。古典时期，人们从未停止过寻找绿色真正的来源，以一己之力调制出自然光谱中各种微妙的相当名贵且危险的绿色色相：铜绿，孔雀石，绿土，弱翠绿。并赋予神话含义古埃及的主神奥西里斯是死亡之后复活之神而充满生机意义的他在人们想象中有着绿色皮肤。这组绿色的观念绘画之下，也赋予每一张画在绿色里新的探索，就好像探索不同人格下关于人性的思考。

文/胡子

BLANKgallery Tokyo is presenting Hu Zi’s first solo exhibition in Tokyo, showcasing 13 artworks with a unique way of seeing curated by the artist.

In 1624, Rembrandt was employed by the Amsterdam Archer Company for his portrait painting The Night Watching. Rembrandt changed the principle of arranging the characters in the order of superiority and inferiority in the previous portraits, and created a stage effect in a new way. He uses exaggerated light and dark contrast techniques, making some of the people in the painting seem to be hit by a spot light, while others are almost submerged in the darkness. But in fact, the scene in the painting does not take place at night, but at dawn, a group of miltiamen are preparing to march into the city to guard.

And the one figure that appears in the painting, that is the figure wearing a beret peeping from behind a soldier wearing a steel helmet, is Rembrandt himself. This almost imperceptible detail is Rembrandt who immortaized himself in the painting common method. The Night Watch shocked the society that time, people have never seen such vivid crowd, such dramatic lighting and darkness. To understand the originality of this work, the best way is to compare it with the traditional militia portraits at that time, which are more like a group photo of a campus, with full and even light, clear outlines of the head and body of the characters, looking directly at the viewer, lined up, the effect is very dull.

Self-portrait has always been a beloved theme for artist. Dürer was the first painter in Europe to paint self-portrait, and is known as the father of self-portrait. Rembrandt's self-portraits, the brush strokes range from the early days of proficiency to the late works that are wild and unruly. Van Gogh's self-portraits range from gloomy, dark and classical colors to gorgeous, bright and vibrant. Francis Bacon's selt-portraits are more rugged and violent, dark and horror, painting straight to the heart. They can become classics in the history of art, not only because they have opened up a path for future generations based on techniques, but more importantly, they have given their ups and downs, lonely and hot, arrogant and dissolute life to self-portraits. To this day, we are still moved by the light of human nature. And modernism redefines the concept of self-portrait it can be Cindy Sherman's early black-and-white photos, self-acting and self-portrait photography and true recording photography presenting different soclal identities the fiction of the self. It can also be a Mathew Barney-style fable, exploring people, mythology, and biological psychology in images, and sumreal self-portraits appear in movies. It can even be Tracy Emin's selfies Insomnia, countless huge-size photos, straight for ward, simple and rude, but sentimental and powerful.

Thirteen pieces of The Night Watching recombine the relationship between characters and changes in light, and draw on the mystery and complexity of the painting, ready to go, undercurrent of human nature, and macro sense of social roles. The Night Watching in the seventeenth century corresponds to the reappearance of the face of the current social group, individuality and sociality, like a mirror, reflecting the self, as if every face in The Night Watching, it is the complex side of the human nature of the ego. As if Roni Horn said: "When you see your reflection in water. Do you recognize the water in you?"

Green. In the classical period, people never stopped searching for the true source of green, and single-handedly concocted various subtle, rather expensive and dangerous shades of green in the natural spectrum: patina, malachite, smectite, emerald green. And given mythological meanings, Osiris, the main god of ancient Egypt, is the god of resurrection after death and full of vitality, he has green skin in people’s imaginations. Under this set of green conceptual paintings, each painting is also given a new exploration in green, as if exploring the thinking about human nature under different personalities.

Written by Hu Zi

夜巡 XII‍

The Night Watching XII

布面油画

Oil on canvas

50 x 65 cm，2021

关于艺术家

胡子 Hu Zi

生于1981，毕业于中国美术学院并获艺术硕士学位 (2007), 曾在巴黎美术学院交换生期间于巴黎国际艺术城驻留 (2006) 并入选苏格兰格兰菲迪艺术家驻村计划 (2014) 和瑞士文化基金会驻留项目 (2019), 现生活并工作于巴黎。

个展经历：夜見，BLANKgallery, 东京，2024；凝视玛哈，阿尔敏莱希, 布鲁塞尔, 2022；暗面，东画廊, 上海, 2020；石肉，东画廊, 上海, 2018。群展经历：光影的感知，阿尔敏莱希, 布鲁塞尔, 2023；绘画沙龙，阿尔敏莱希, 纽约, 2021；隐喻现实，阿尔敏莱希, 上海, 2020。她曾参与K11美术馆, 油罐艺术中心, 法国里昂当代艺术馆, 瑞士巴塞尔Dreispitzhalle等海外机构的展出。

Hu Zi (b. 1981) graduated from The Department of Comprehensive Painting at China Academy of Art with M.F.A. (2007), once stayed in Cité internationale des arts Paris for residency during her exchange student at École des Beaux-Arts de Paris (2006) and was selected for Glenfiddich Artist in Residence Programme in Scotland (2014), Swiss Arts Council Artist in Residence in Switzerland (2019), currently living and working in Paris.

Solo Exhibition: The Night Watching, BLANKgallery, Tokyo, 2024; Staring at Maja, Almine Rech, Brussels, 2022; Dark Side, Don Gallery, Shanghai, 2020; Stone Flesh, Don Gallery, Shanghai, 2018; etc. Group Exhibition: Light, Almine Rech, Brussels, 2023; Salon de Peinture, Almine Rech, New York, 2021; Metaphorical Reality, Almine Rech, Shanghai, 2020; etc. Her works have also been shown in the museums and institutions like K11 Art Museum, Tank Shanghai, Musée d'art contemporain de Lyon, France and Dreispitzhalle Basel, Switzerland.

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